generation judi dench starsing in the new james bond movie. >> i think that is what said is young students coming into the theatre now all training, i think the majority of them actually don't want to go into the theatre. they want to make films. they want to be a star. and also with the demise of all our reps all over the country, rep ra tore theatres, where do they go to train, where do they go to make the mistakes, having trained. you need to go somewhere and to find out what not to do. and what watch people who can do it and i think a lot of curiosity has gone out of the theatre. that young people are not so curious about, i mean there are a lot of young students who don't know who john gill gud and ashcroft and certainly don't know about irving or tree. >> we conclude this evening with the photographer mario testino talking about photography, fashion, and

beauty. >> i do see beauty but i don't think the final result is beauty. i see life. i see a certain life that i would like to almost live that i don't ever get to quite live because it's made out of perfection. you know, things that you don't really get with money or anything, you just get with the chance, the moment, you know. and i thrive in this aspect of photography that with a thousand of a second you can capture a moment that doesn't exist. >> dench and testino when we continue. funding for charlie rose was provided by the following: captioning sponsored by rose communications

captioning sponsored by rose communications from our studios in new york city, this is charlie rose. dame judi deferming is here. she spent most of her long and very distingishished

acting career focusing on the theatre. now she is known as character m, james bond task master. she is back in bond's 23rd outing called skyfall and plays an even more critical role than before. critics are saying this could be the best bond film of all time. so here is the trailer. >> country. >> england. >> gun. >> shot. >> agent. >> pro vock ture. >> murder employment. >> sky-- skyfall. >> skyfall. done.

>> some pen are coming to kill us. >> rose: you have seen the trailer before. >> no, i have now. >> rose: i want to go see this movie now. >> me too i will go i think a week tonight. >> rose: why. >> because it's the premier. i will save it till then. >> rose: you can't just show up and to the go to the premier, can you. you can't do the red something, carpet. >> i will be-- . >> rose: there are those, did you feel that this was special when you were making it, you have done a bit of these but this one somehow was going somewhere different. >> i heard it was a terrific

script. and i met barbara and sam men dense-- mendes. >> he's directing it. >> i met them before and they told me what was going to happen, but which i can't say of course otherwise i shall be shot at dawn. >> rose: and i will not say, because i promised. >> no, quite. and they said but you have a terrific go and you come out of that office and behind your desk and you have a bill of a go. >> so you said that's enough for you. >> that's enough. >> i'm on. >> yes, i did. >> rose: you have people read scripts to you now, do you not. >> i do. >> rose: because it helps, a because of eyesight and secondly because -- >> it helps to hear the story, you know, which is our job, telling the story. and keeping the audience there, intrigued into what is going to happen next some if you get people reading it to you, it's very engrossing. and i think sometimes you can tell if something is -- >> i love being read to i love books on tape.

>> yes, me too. >> rose: i mean all of that. so mendes you like as a director because of earlier associations. >> i do like him, yes. >> rose: but did you feel to repeat my question, that he was taking it to a different place than the bond series had been before? >> i thought the script was certainly taking it to a different place. and then once starting to work with sam who i had never worked with on film before, only in the theatre, i realized that he was quite a different kind of kettle of of fish, really. it's very dark, for one thing. i mean it's dark and it's quite dark in watch where you step, dark in nature and a bit of look out where you are stepping, you might fall off. >> yes. these have been, as we all now know great fun for you, bond. >> yes. they have been fun. >> rose: because it brought you a different kind of renown or because the making

of them was fun. >> because i never expected to be asked to be in a bond film. and certainly never thought that m would ever be played by a woman. it gives me-- . >> rose: whose idea was that. >> a sense of power, i'm drunk with power, charlie. that's what i am. >> rose: is it sexy to have a lot of power. >> very, very sexy. but you're looked on as being very, very bossi. i can only be bossi. >> rose: was that hard for you. >> very, very hard. i can only be bossi with those very nutty boys-- naughty boys. >> rose: then you can be bossi with me. >> yup. >> rose: is it true that way, way, way a long time ago some guy said to you, don't have the face for film. >> oh, you bet, that was absolutely true. absolutely true. i went for an interview. i sat there and he looked and he talked to me and i thought this is going awfully well. he said i have to tell you you have every single thing

wrong with your face. and with amazing presence, i thought, i got up and i took the chair and i put it back against the wall. and i said good afternoon and went back to the old vic, i don't need this i don't need films. >> rose: and you didn't. >> to. >> rose: but did you. >> i think probably, yeah, i did a few films. one called-- the third secret with steven boyd and richard at enboro it was a very frightening i had to play with richard. he was doing something to me, you never quite knew what it was. all i had to say was oh no, please don't, please don't, please don't. it was cut. >> rose: oh no. you didn't say please don't well enough. they thought you were saying please, please. >> yes, didn't convey the truths. >> rose: oh no. so why do you think bond sent, since you have had this exposure to you is magical for all of us. i mean i can't way to see this but i like this kind of thrill. >> well, i think-- he's an

interesting character. >> he's very essentially and he's essentially british. he's a british, with that, which he has that word that is untranslatable in any other language, flem that stiff upper lip thing and he goes rather effortlessly, he used to, through a lot of very dangerous things doing stunts and never getting a spec on his suit, you know. drinking these drinks, having all these women, yes. and it was very elegant and suave. and gradually through the seven i've done,. >> rose: he's gotten dirty. >> he's dirty now. >> rose: and he gets whipped sometimes in all of that. >> he does. >> rose: but that's okay because he puts his tuxedo on and comes back. >> and there is always a tuxedo there. he never has to think about the cleaners. >> rose: yeah. do you know sean connery well? >> i don't know him well. >> rose: but you know him. >> oy do know him.

i met him at billy connellies. >> rose: i think the two i most liked goes from sean to daniel. >> they've all been very different, haven't they. and pierce you see was different again. >> rose: and roger was different. >> and roger. well, all of them. >> rose: yeah. it's amazing since it's hadded run, this is what the 23rd and it's been 50 years. >> 50 years, yes. >> rose: what's difficult about this for you, anything? >> well, it's difficult learning how to shoot a gun. >> rose: is it really. >> it was, yes. >> rose: how did you learn to shoot a gun. >> i went to shed 19, today they said you're in shed 19. >> rose: go to shed 19. >> go to shed 19. and the moment i walked through they were waiting for me. >> rose: take this gun and shoot it. >> take this gun, there's the target. have a go now. and i did. >> rose: you hit the target. >> i quite like it with one hand. now they used to only do one hand why do they both-- . >> rose: i think to hold the gun steady. i don't know.

>> i think you can hold your wrist that way, i think you can do that too. but-- i missed, i did. >> rose: you did. >> yeah. >> rose: do you have time for other things now? other than -- >> i do. i make-- i mean i have taken off from when i finished the bond film until now. i've taken all those months off. >> rose: so what did you do? >> oh, i had the most lovely time. just being with friends. being at home. >> rose: hanging out. >> hanging out. and now i'm going to start, do a film with steven fractures. >> rose: tell me about this, i read about that. >> that is called-- you like steven. >> i do, yes, love working with him. >> rose: what's there not to like. >> what is there not to like. >> rose: exactly. >> he gets quite grumpy now and again. >> rose: it's understood. >> yes. it is about a true story about somebody who is alive still who filamina lee who had this baby. >> rose: i know this story. >> about her lost child. >> rose: in search of her

lost dhild. >> yes. she goes with-- who has been played by steve who has written a script with jeff pope. >> rose: you were reluctant to meet her, weren't you. >> i'm going to meet her next week. >> rose: you haven't done it yet. >> you are very, very up to date. >> rose: i try to be. >> how did you know that that i was going meet her. >> rose: i am, well i'm not some of now because they all met her last week. >> rose: so you are more excited about it or less. >> i'm much more. i just want to meet her now. >> rose: why do you want to meet her. >> i just want to get the tone of her. >> rose: so part of it is professional, beyond just curiosity. >> it's all of that. >> rose: yeah. >> really. >> rose: were you resistant to it for a moment? i mean because you normally -- >> to meeting. >> rose: yes. you have always taken a position i don't really want to do that. but you changed for this one. >> i did. because when we did that play called pack of lies,

michael went to meet day searcher's father in the house that the play was set in that was the house that they were being used, you know, by spies. and he went to the house. and he met his character. and he said to michael, this extraordinary thing about his wife dying in the kitchen, and he came back and said to hugh whitemoore, i think it was hugh, you must check on this, hugh worthmoore, pack of lies, and he told him this and it became the whole of the last speech of the play. and i have only once before met somebody, i did a thing called on-- gile's hold shoulders which was about the little boy terry wiles. and i came out of my trailer on the first day and came face-to-face with his mother. and she was very, very up set, indeed.

and just walked off. and that unnerved me a bit. but on the other hand, playing iris murdoch i did talk with as many people as i could and i watched all her interviews, you know. so just to get the sense of the person. >> rose: you can get, do you look, does it come to you or i mean are you doing it clinically or do you just watch, you'll get t you'll see it, it's -- >> i just hope that that will happen. >> rose: you have the actor's instinct to say that's something that we can inhabit. >> incorporate that, or that's something we can't, you know, yes. >> rose: if to the you have to find something. >> yes, you just want to be-- i mean if somebody's alive you want to be as honest and true to that person, that story and authentic. don't want to kind of embellish it with something you might have out of your fantasy thought up. >> rose: have you ever been accused in your life of being over the top? >> oh, yes, lots and lots of times i expect. more times than i probably

notice. >> rose: too much acting!, judi. what do they say. >> too much acting, oh, no, never too much acting, over the top. >> rose: do they ever say, someone said the only thing directors say is like down, down. >> damp it down. >> they should say more now louder. i find i can't hear people now rr louder, louder or quieter. >> louder, sometimes directors give you a very, very long and complicated note. and at the end of it you kind of say you mean louder? or you mean slower. or faster. usually faster, it's got to be quicker but they kind of dress it up with. >> rose: faster, slower, louder, or not so loud. >> that's all the notes are about. >> rose: i could be a director, couldn't i, i could say louder. >> but you would have to dress it up in other words. >> rose: you would think i knew what i was talking about because you have heard somebody like really good like sam mendes say louder. >> we never say that we give

a long, long complicated intellectual note. >> rose: sam would. >> at the end of which you think, louder, definitely one of those. >> rose: dow talk back to directors? reasons talk back at them. >> rose: yes. in other words, are you -- >> argue a point you mean. >> rose: yes, i mean in other words, i get the character. i have read the text. i know what i'm doing. i'm daim judi dench, by the way if you haven't read anything, recently. >> no but they're there to make it better. >> rose: and do they usually, usually. >> oh, yes, i think most of the time. >> rose: most of the time they do. >> yes, but i think i told you about sam mendes when i worked with him in the cheree orchard and he-- . >> rose: tell me. >> he was a child. and he was directing cheree orchard and i said sam, do you think i could try this scene in a slightly different way. i just want to, just try something. and he said to me, yeah, you can but it won't work.

so during skyfall i did exactly the same thing. he suggested something and i said well, i will do it but it won't work and he fortunately remembered. yes. >> rose: he said you try it this way and you said -- >> i said i will try but it's to the going to work. so i got my own back eventually. years later. >> rose: yes. clearly you remembered, didn't you. >> oh, yeah. and i have never let him forget either. >> rose: so when you look back, what you have done anything differently or has it just, like life, you know, that's the point. you live it and you make mistakes and you do good things and you find -- >> it's just like that, really. i wish hi done that better. or i wish i had-- blue i don't regret for a single minute all the stuff i've had kind of thrown at me and dealt with.

and you know, performed and even, i mean i don't think i should have played pore esch in the merchant of venice. i loathe of play, the only play of shakespeare i don't care for. >> rose: why did you do it. >> i was asked to do it. michael and i were just married and he was playing, you know, what a stet up. but i knew that i couldn't pick the bones out of it. and john neffel came to see it all the way from canada. and i had a wonderful wig, because they say you know, and her hair hangs on her temple like a golden fleece and many come in search of her. i thought well she would have those wonderful curls, red kind of curls. and john came and i acted up a storm that night. and there was a knock on the door at the end. come in. he said good evening, bubbles, he said. that's all he said. didn't make another comment about the play.

and coy have done that better. >> rose: we have talked about this before. but it's worth talking again. you had a fantastic marriage. >> yes. >> rose: what made it magical? >> well, i suppose if i could answer the question i could write a book and make a huge amount of money. >> rose: you could. >> you know. >> rose: but i done mean it in the sort of self-help. >> i know exactly. i know. well, i don't know. i mean we did-- well, all i can say is that if i hadn't been married to michael he would have been my breast friend. you know, and that's important to like the person, very much. i think. >> rose: . >> and to have a natural, you know, both of you have a sense of humor, same kind of sense of humor. i think that's important too. that's vitally important.

but-- . >> rose: you have channeled that experience and people said good acting is channeling your own experience. >> well, i am sure everything that happens to you, all of the experience you have had goes into everything you play. because you have to either have observed it in somebody else or read about it or yourself. so you know, it's a huge eye and huge ear because you have to-- if you play, if you play lady macbeth you have to, you know, it is an observation thing. you don't go out and do somebody in and then think, i'm saying something, you know, it's an amalgam of all, it's a receive of all the things you've ever -- >> have you had any interest of telling what you know about acting. >> in telling. >> yes. >> no-- . >> rose: not performing but telling. i don't mean by teaching but just somehow, you know, do you have the -- >> i could talk to a student

or students and i can, when you do audition speeches i can take a student through things like that, to help them and think it maybe better. >> rose: if they have an audition you can help them. >> i could if they said will you help me with an audition speech. >> rose: have you ever done that. >> i have, yes. yes. and i have directed too. but that's such a lonely thing. they gang up against you, actors. they honestly don't tell the truth. >> rose: do that one by one. >> okay. >> rose: they gang up on. >> they gang up against you, in you are directing and dow all that and suddenly they disappear at lunch and they have not told you where they've gone. i hate that. i hate it. >> rose: and it's a conspiracy, they are doing it. >> it is a conspiracy. and then when i went to see, i directed ken bran never ach do and when i went to see it on tour, at the end of the show i went around to give them notes, he had left in his costume, see. >> rose: but i mean is it

difficult to direct him in much a do. he knows a bit about shakespeare. >> he certainly does. he knows a lot about it. >> rose: i know he does. >> and he was simply brilliant. he used to make me laugh a lot. he used to behave quit badly. and then also ackers will say you must look at this when you go home tonight. you really must look at it because it's not quite right. look at the lines and please do some work. and the next day they will come in and say i'm exhausted. i have looked at the lines, i have done the work, i still don't see-- . >> rose: well, they're transparent, it's like a glass person walking in front of you. you know they haven't, you know they haven't done it. but then suddenly the spotlight because i was watching that and criticizing and the spotlight suddenly went-- i was caught it in full blast. i thought oh yeah, i have said that so many times. >> rose: some people think it's quite unfair that you get most of the best roles for older woman. >> you're just saying what pat hodge said last week.

he said we get the best maggie and-- i get the best parts. i read that. >> rose: exactly. okay. >> that's rubbish. >> rose: that's rubbish. >> that's rubbish. >> rose: i love rubbish. >> of course it is. >> rose: it's unfair. >> of course it is. you you don't give a damn. >> i don't, no. >> rose: because you know. >> just keep on working, touch wood. >> rose: why dow work so hard? >> because, i'm one of the minority. in that i'm doing a job i chose to do. and i'm employed at it. >> rose: you and me. >> you and me, well, how lucky we are. are you going to retire. >> rose: no! >> certainly not. why would you rses it makes you more vital, young and purposeful age second the whole idea of running through the fire, you know. >> i heard the other day somebody sayings the older-- older you get the

louder you should sing. and i thought oh yeah. i will have that in poker work somewhere up on a wall. brilliant. has the theatre changed as you have been in and out of the theatre much. >> yes, i think the theatre has changed. >> rose: in what way? >> well, i think, think it's just as exciting but i think what is sad is that young students coming into the theatre now all training, i think the majority of them actually don't want to go into the theatre. they want to make films. they want to be a star. and also with the demise of all of our reps all over the country, where do they go to train, where do they go to make the mistakes. having trained, you need to go somewhere and find out what not to do. and watch people who can do it. and i think a lot of curiosity has gone out of the theatre. that young people are not so

curious about-- i mean there are a lot of young students now who don't know who john gielgud or ashcroft and certainly don't know about irving or garic or free and that's a pitty. >> it is a pitty. >> it is a great pitty because that is our heritage and it's a very great one. there we are. that's not-- i don't think it's taught any more, history of theatre. it used to be. >> rose: but your daughter is a stage actress. >> she is, jolly good too. >> rose: is she really jolly good. >> she's very good. and if you had asked herb why she's jolly good, she would accept that idea which i'm sure she would. or she would know, she would probably say because i worked hard. they all say that, she wouldn't say because my mother is good and i have her genes. >> she wouldn't say that. >> rose: she would say i wanted it, hi a passion for it and i worked hard. >> she's always wanted it except that when she was little she wanted we said what do we want to be she said an acrobatic nurse.

>> rose: and you said what's that. >> we said on the contrary we said go for it because you-- an acrobatic nurse, somebody swinging down the ward and hanging upside down and taking your temperature, go to the top of the tree, wouldn't you. >> rose: indeed. >> then she gave it up and she only ever wanted to be an actress. and she really is i'm not bias when i say she's very good indeed. >> rose: so you are enormously proud of her. >> i am. hugely. >> rose: it's great to have you here as always. >> it's lovely. >> rose: i will letter, december-- 9th. >> the 9th, and january 5th. >> rose: why don't we just celebrate somewhere. >> quite. >> rose: in london. but will you be somewhere make movie. >> yes, i am. i am doing my play for michael granditch. >> rose: oh, what -- >> it's called peter and alice. >> rose: there you go. >> only 90 minutes long so you can be in the pub at 9:30. >> rose: or for dinner, wherever you want to go i

love you, you're wonderful. >> thanks, charlie, very much much indeed,. >> rose: back in a moment. stay with us. mario testino he is is here, a photographer, models, hollywood stars and royalty. hits work for the last 30 years has covered every-- every one from kate moss to margaret thatcher. his exhi businesses have brought record-breaking clouds, now the first solo show in the united states called in your face, a fitting title. i am pleased to have him here at this table for the first time. welcome. >> thank you so much, charlie. >> so you were born in lima, peru. did you-- you were going to study international relations and things like that. >> no, i actually didn't know what to study so the first university i went to was economy university. i did it for a year. then two years of law. basically i didn't really know what i wanted to do. and it seemed the right thing that my parents said

as long as you study we will pay for everything. so i did this university for three years. and then i had a stint at san diego, california, which is a place that i really adore. but i guess i was looking more for a new york energy and it didn't have it. so i then went to london, 1976, to study kpun cases. i went to california to do international relations then went to london-- it was really just any excuse to be able to be kept by my parents in a way. in london i fell into photography. >> rose: how did you fall into it. >> it's a really funny story. i believe so much that things come to you. and basically i went to a friend's house for lunch and there was a foted owe of himself on his mantle piece. and i said what a great photograph. and he told me this girl studying photography here took it. i said i have always heard of this girl i would love to meet her. i went to meet her at her school. when a rifed if he school she said to me what are you doing. i said well i have applied to the university.

and they have me don't need me for next year but i need a school if i want to stay because i need a student visa. she said why don't you join the school. an eye rannian girl left the school we are only six students and if you can afford it they will probably accept you. i applied. i got in it three months later the teacher died. he was only him, really, the fetcher. and like two days later i met this guy who asked me my story again. when i said that i had been at this school he said i know that iranian girl that left your school. she opened a studio. would you like to meet her. i went to meet her. she offered me a job as an assistant. the situation my parents said you have to come back. there is no more money, we have 2,000 percent inflation with the devaluation and i decided i wanted to stay so i worked as a wait never a restaurant for another three or four months. and after that i realized well i'm a really bad waiter because i could only pick up one plate and look where it was clean, and leave every

other plate and the people on the table were like supposed to carry more than one plate. so i decided i guess i better be a photographer. and you know t wasn't overnight. it was certainly a struggle to get work. i had to go and throw my book in the rain in london and be, you know, people would say to me really, you'll never make it or just have no talent. people were quite blunt. >> rose: right. >> but here i am. >> rose: what was the big break. >> there were different breaks. i guess my first big break was that somebody, right when i started there was an editor in a magazine. and the lady was to be a social worker but gave me my% first break. she thought that i could really produce a cover in a story from beginning to end. and for somebody my age at the time it was a big break. i mean it wasn't a big break in the sense that she didn't make me and my big break came later when madonna

asked versace to allow me to photograph her for the couture. and you know, when the pictures came out versace said-- pie god, you really understood these clothes. and when he presented he wrote versace present mass donna by testino. and at that time, you weren't called by your surname if you weren't av a done, penn or newton. then things started rolling. princess diana asked me to photograph her dress, my secretary big break. then i got, you know, for the sale of the promotion 58 sale of her clothes at christies. then tom ford asked me to do his campaign for guchi when he was there for ten years, i worked with him. and maybe that was what really put me in the world of fashion as a photographer. >> rose: have there been times in this career in which you worried that maybe it was not going to work the way you thought it was. >> you know.

>> rose: when a magazine night have stopped calling or something like that. >> i think that there is that fear all the time. i don't really know. i'm a freelance, so even though last year i turned 30 in my profession, i think that there is no assurance. i was saying if you win a gold medal at the olympics doesn't mean will you win it next year. and you know it's the same with us. i think we are only as good as our last job. and as much as people can tell you oh you have really made it, in my head i don't think you ever really make anything because i mean it's like you. you have an amazing reputation but who knows whether next year, you know. we hope not. >> rose: don't remind me. but no that's true. >> it is true. >> rose: but also you want to push yourself to be better, out of the sheer intrinsic value and the income and well as competitive reasons to be as good as you can. and to be better than you were yesterday and not as good as you are tomorrow. >> and i find that quite difficult, when you really

knows what's good. because you can't cease to compare yourself-- i've been collecting fine art for the last 18 years. and i see the freedom some artists have in their work. and i don't always have that freedom. so i obviously would like to have that absolute freedom. and when you know something's good you know that not everything you do is that good, so it's a constant search and i don't think that you ever get to be-- i don't know. i think the moment you stop thinking that you will be better t is the beginning of the ent. >> i agree. you did a famous exhi business in london, with a natural -- >> yes n 2002. second most successful only second to lose yen fre durx. >> it was first. >> rose: more tan lucien. >> no, no no. he just happened. and rightly so because it was an amazing show he did. i was really lucky for a photography exhi business. >> what was it? were you surprised? what do you think made it what it was. >> you know, it's a mixture of things.

i think that like most things in my life i was lucky with the timing. i think that the content of the show was a lot to do with celebrities. and everybody knew every single person that was in the show it went from kate moss to princess diana to madonna to gwyneth paltrow and you know that really was one of the reasons. the other reason is that the director of the national portrait gallery at the time charles summers meets who today is at the royal academy was very kind to give me the freedom to do it the way i wanted to do it. and like i said before i collect fine art i have a way of hanging in my house that is very salon stylement but in bright colors. and you know i come from peru so even though i think that the english have a real sense for color too in their interiors. and he agreed because at first when i was approached for the show i was told that probably they wanted me to do a show with small photographs around the room a white room. and i said well, you know that doesn't make any sense

with my work because i work for magazines. and when you look at a magazine, your eyes concentrated on the space. and when you put it on the wall you almost need that same concentration for the image to have the same impact. >> rose: but you once said i feel like a doctor. we have some interesting quotes here from you. i feel like a doctor without goes to the operating these we are 30 years of experience. now i feel that i can use all the instruments of the past to get the most interesting photographs. what are the instruments that you use to get the best photographs? >> well, you know, light is the main one because photography means writing with lighting. >> rose: photography means writing with light. >> yeah, that is probably the first instrument that i use. but then i do, i deal in aesthetics, so hair, makeup, styling are very, very important. and contrary to most fashion photographer, i don't really know, this is what i hear. that i pay a lot of attention to hair, makeup

and clothes. and-- . >> rose: pay attention in that you have a vision of what it ought to be. >> exactly. and i can say to you that i have too much makeup on the bottom or that hair, that follow, and you know, it's just the way that i have been raised, i guess that has trained me like that. and it seems quite superflurs but it sort of fills people with joy when they manage to see themselves in that light, sometimes. and so those are other instruments. then of course you know an image is always created in a space. and i have developed a sense for decorating. so the fate is very important. you know, it's all little things. it's true, i remember going with grace comings, i wanted to do a job in brazil. i said to her i want to shoot in this location. she said to me yeah, but what time. i don't know, whenever in the morning. well, you need to know the exact time. because that sun will hit it from here, from here. you know. and i have to say, i've learned the tough way

because i've been trained by many of the best people. i have been very lucky. >> rose: like. >> like a tony goodman. -- will you sendar chambers, anna winter, you name them, all the people i work with. >> rose: these are great editors in part. >> yeah. and we photographers are taken by the hand, by the editors without guide us and sort of correct us and lead us and help us, you know. >> rose: but how do they help new what is the role. >> you see, a fashion photographer has to produce an image with an outfit, a dress, whatever we're trying to show or promote or sell, depends who you are working for. and you know, these image is created by putting the right shoe, the right hand bag, hair, makeup. i do that with them and with all the team. and then when are you doing the photograph, many times you're so concentrated on how to create this image and you're so worried about the light and that you maybe don't see something that is

happening from this anglement because we don't have a hundred eyes, you know. so many times, i mean tony goodman is one of them, i work a lot for her. and many times she said to me look at it from this side. and i have to say i have to learn through the years you've got to be so humble in order to grow. because the moment you think, you say oh, shut up, you know, i'm the photographer. you're not taking advantage of what you are being given. and many times i have to eat my words and just -- >> do you see, what is it you see? you see beauty. you see uniqueness. you see -- >> i think it's a mixture of things. i do see beauty but i don't think the final result is beauty. i see life. i see a certain life that i would like to almost live, that i don't ever get too quite live because it's made out of like perfection. and things that you don't really get with money or with anything. you just get with the chance, the moment, you know. and i thrive in this aspect

of photography that with a thousand of a second you can capture a moment that doesn't exist before, doesn't exist afterwards. at a kid i used to take the bus to go to school. and my friend sat next to me an i always would look out the window and see everything. and i say look, look, look. by the time he looked, it's gone. and i find photograph ear-- photography is like that and i tried to create those instants in life that make people live a dream or i don't know, like, i don't know. sometimes i look at tv and there's so many negatives. i read the paper every day. you see so many negative things happen. so i try to create a little bit of the balance for that, you know. something that makes you think wow, it's a possibility. >> rose: how often do you see it and snap, and you find out you didn't get it you saw it if your mind's eye but you don't have it. >> well, it's funny because i am a positive person.

i see everything from the sunny side, in life people say the wine glass half full or half empty. i see it almost full so for me that doesn't exist because you have got to take life for what it gives you, you know. and if you didn't get that, will you get this, this one is very-- . >> rose: i say see so you never-- you know there is another moment. >> another moment and another moment. >> exactly. i think like that. >> and who is necessarily prepared to say one moment is better than another moment. >> unfortunately, i think we only raise our life on what we know. and what is magical, not necessarily what you we know but we're going to find out. and every single day i'm having to learn this people get frustrated because they want the sun and it's raining. i went to scotland once and it was pouring with rain for three days it is a very odd thing for me. >> that happens in scotland. >> for me it's very odd. i'm always sun, sun, sun, wherever i go. i sometimeses feel weird that the sun follows me. i realize with time that i

have mitel ep thee that tells me go there and the sun is there. but i went to scotland and it rained for three days. so i hadn't brought any lights because my luck is always with me. so the second, the first day i worked all day long if the rain. i have to borrow a motorbike outfit for somebody because i didn't even have the clothes and they were saying she could see the water dripping from me. and hi no light so i decide look, i want to be inside. so i went and bought 200 candles and produced the most beautiful photographs maybe that i could-- i didn't even know that i would do that. so you just have to go with if. >> something else you said was you said i tried to emulate the english because i was so impressed by their work and their style. but it was not really me. >> it's tough to be somebody else, you know. people are always asking me what would you suggest a young photographer do. and i always say find who you are. because we try to be like so many people. i remember when i started being a photographer i wanted to take photos like richard, but i wasn't them,

you know, so how could i take them. and very bad at copying. some people manage to reproduce other people's work and they do it beautifully, sometimes even better than the one before. but for me, i'm not good at that. so -- >> you had always said i take this was-- before i met corine you said i didn't rolize that i'm not english. i am not french. mi peruvian. so what does am mean to you to be peruvian. >> i grew up in a society where we used to look up a lot at europeans and americans, you know. americans and europeans came with culture and heritage and history. and peruvians we were like third world. this is how we used to see ourselves. and it took me a long time to-- because i went to england to look for something different, you know. and i didn't really realize that being peruvian was the most wonderful thing that

could have ever happened to me. and how difficult it must be not to be peruvian. but i had to really understand that i couldn't dot english style nor the french style. and i needed a woman like coreven to really point it out at me and say you know, do your pictures. don't try and do anybody else's pictures. the promise that i didn't think my pictures were that great. and like this i have heard so many advice from different people that have said to me, you know, look at look at your life. i used to do really boring pictures. we are not boring but static and somebody said to me you know you're always having a good time at a party. why is it that you don't project that in your pictures. all of a sudden i brought life to my pictures but the truth is -- >> what did you mean to bring life to your pictures. >> i had to scream, shout, perform. >> right but the interesting thing is that in our lives comedy is not considered as good as drama. and for therapy it's the same. if you have a laughing

picture of a girl it is not as considered as cool than if you have a girl about to-- sexy and evocative. >> well, that is very-- in general if the girl isn't like a bit down or gloomy, it is not considered that cool. >> i ask you who was most beautiful woman you had ever photographed. and you said to me -- >> kate moss is the girl that has touched my, you know, my senses its most. >> rose: a better way to express it. >> she has touched your senses most. >> because it's not only one, it's not just the eyes and the beauty. it's the humanity, the fun, the style, she just opens, when you are with her and another one that is similar to kate is gisele bundchen, when you are with these girls you feel that life is more exciting, there's more to see. are you more fortunate, i don't know. >> rose: she said about you, because she said that women want to be photographed by you, whether it is gisele or kate because we want to look

like that all the time. you give them a look that they want to be, right? you even discover something about them that they may not even know. >> i think what i do is i tap into them, you know, because i'm always looking, maybe at something that happens in a small part of their lives or in the day and i look at that and that's what i try to bring out. >> rose: we'll look at images now. let's talk about them. the first one we will see is kate moss. take a look up here. what am i looking at. why is that an interesting photograph. what does that say about her. what does it is a about you. >> it is very interesting because this is a photograph that has surprised me the most. the most successful for that i have done in probably the last two years. it just says something about the intimacy maybe that i might have with the person, you know, because it's you know, like she's getting ready to go somewhere else,

often you would have a dinner party and go somewhere else. it's these sort of moments that i was trying to create. i was trying to-- kate always says to me, i love those photographs that you do that are not fashion photographs. the photos that you capture because -- >> like this. >> like thisment and we decided to do this story like. i did a lot of training to get these images. >> training. >> well, i thought a photographer, like a photo journalist has a quickness with the camera that captures moments that, you know and i thought i had to tranl myself like a cowboy because cowboys have to draw their gun, at least in film, they have to draw their guns as quickly as they can in order to survive, not to dichlt and photography it's a little like that because those moments, they, you know, they're fast. and so i would create my images to perfection. and then destroy them to make them look like there was no effort. i love things to be

completely effortless. >> take a look at the next one this is business el bundchen. there you are. i mean the picture is cropped perfectly because you see all the way down her leg to the shoes. >> well, it's funny. >> and stretched across so there is a sense of. >> this is an image done for a cover of a magazine, for "vanity fair" for the style issue. and really it's two or three years ago. >> 2007. >> oh my god. five years ago. >> how scary. they say when the things go right and you are having a good time,. >> . >> rose: time flies. >> so this photograph, is already done with other restraints around it in the sense i need to make sure there is space to write that the cover needs to have space so it is perfectly controlled and calculating. the other one has no real need to be in any format or not. >> beautiful woman, isn't she. >> she is unbelievable, yeah. >> you know what is amazing about her is that everything

is perfect. last night i opened my show in boston and she came. and she's pregnant of 8 months. i mean even pregnant would you think that maybe she's's not as incredible. and she's more incredible. >> all right, take a look at the next one, gwyneth paltrow this is 2005. she has left the floor. >> well, this is a story that we did for the couture for american vogue, tony goodman was my editor. and i always see models, because they have quite a tough life these girls are constantly having to go from one city to another, they're young and on their own. and often they bring their brothers, sisters, best friends, somebody from the family so we had this idea of having her come with her brother who was a skateboarder. and how within the environment that she is living because of situations that you get put through coup tour, it's very elegant, you know, but there is the brother, sort of completely out of place. i quite like that out of

place. >> rose: the next one is stella tenet. >> this was done for american vogue, with grace comington for-- if i get it right i think it was -- >> you like black and white or color? >> i like color. >> rose: dow. >> yeah. i think life is in color. it's very funny. >> rose: but look at your clothes. >> exactly. because i do it in my pictures. but you should see me before, i had a lyle ago terry cloth suit with platform shoes. you know, i was pretty loud. >> rose: lilac. >> yes, i love lilac. >> rose: the next is hillary rodo, jessica stam, mia. >> these i did for french vogue. karen has this eccentric side to her, she loves something that is sort of off. and these are very, you were asking me about interest, what they do. and what i have noticed,

they all bring different sides of me. you know i work with the americans, the english, the french. they all have different points of view. they like different women in their societies are really different. you know a woman in france wants to be really el sgant. a woman in england doesn't want to be, she wants to be completely -- >> we just had-- here. >> amazing. i saw her once at the these never paris. and the theatre they turn off the lights and the only person that you could see was her in the auditorium because the scheme was so-- she came and did a segment with me and it was, she was so alive. >> rose: yeah a live. >> alive. i mean people just were knocked out. people would stop me in the street and say. >> how incredible she was. >> i don't know-- part of it is european. she's over 80. >> over 80, amazing. >> i mean it's quite-- i met her 30 years ago. i didn't meet her but i saw her at an event and i was blown away by her. i knew her from films,

because we trained with french and italian. >> the next is a picture of the duke and duchess of cambridge, there they are. >> i was just looking through my computer for the pictures we had done for the engagement. they were standing next to me. i was showing them and all of a sudden i turn around and they are such an amazing couple. >> take a look. here is an interesting photograph. this is keith and mick. taken, how did you get that photograph? what did you say to them? >> i guess i know them socially, i know their kids and the wives and you know, so i don't know. i was-- we were in a hotel. i just said i want to get that -- >> image that you guys have. >> i want to get that energy that you guys have between you because all the years you've been together. and -- >> where do you put this in the path onof favorite photographs. >> it's an amazing picture for me. >> it's a rare picture. do you know what's funny is

that i go through my life adapting to the moment. this moment they, they could give me i think two hours. i flew to l.a. just to do this photograph for two hours and they wouldn't go out of the hotel so i had to put a-- i was sort of younger than now and a little bit insecure. and so you try, you do the best you can that moment. >> right. >> but maybe i would never use this light again. maybe something i use then because i thought it suited that situation. and this happens a lot. >> rose: what do the best models have? >> personality. >> rose: really? >> yeah to me anyhow. we are all different. there are people that like a model that is a blank canvas. me i like a girl, a person that i can, you know,-- said to me years ago and said i don't want in the magazine girls that i can't have at a table and can talk to anybody. because i need personality. and it is so true. you know, i have to spend pie day with the girl so i don't understand how people

can spend the day with somebody who won't talk, won't give. and we go back to the business el and the kate. >> do i remember that when you were in london and trying to get started did you take a series of photographs of young male models, nude. >> yes. >> rose: and that was a breakthrough because somebody saw that because they were so thin or something and said you're on to a big idea. >> what happened was that i, when i started in the 80s i worked with-- the chief italian vogue, she had two magazines, fred louis, for young boys and girls. and bruce weber was the photographer at the time. and when you went-- . >> stephen: still a photographer, isn't he. >> but at the time he was like the revelation. i mean he has been the revelation for many years now but then it was the beginning. and all the model agencies had all the models look like a bruce weber model and i needed to find my own so i found them at the streets, at parties, at restaurants. and i photograph them for these magazine.

when she closed the magazine to go to vogue, i carried on finding the people but i didn't have the clothes or time to style them. so i decided to work on my light. and as in drawing you,the first thing you learn is nudes, i thought that to train my light i should do nudes as well. and it was an interesting moment because they would come in the morning when we were all preparing for whatever else we were doing the shoot. and i would do one after the other. and i have a collection of them. i started with the guys then went with the girls. i sort of felt hard ter to get the girls to do it. but-- with the years i sort of-- . >> rose: is any of that in this exhibit. >> only one boy and one girl. >> rose: okay. mario testino, in your face, put on by boston's museum of fine art. a very fine museum. first u.s. exhi business of your work, it runs from october 21st 2012, to february 3rd, 2013. great to you have here.

>> thank you so much. >> thank you, thank you very much. >> thank you for joining us. see you next time.

>> rose: funding for charlie rose has been provided by the coca-cola company supporting this program since 2002. and american express. additiona funding provided by these funders. >> and by bloomberg a provider of multimedia news and information services worldwide. captioning sponsored by rose c

>> it's time for "classical stretch." i'm miranda, and joining me are sarah and brendan. we're about t